The 'In Minor Keys' exhibition at the Venice Biennale has become a subject of critical discussion regarding the relationship between artistic scale and emotional resonance. According to a review by Barry Schwabsky in The Nation, the exhibition is characterized by a notable irony: while the individual pieces are physically large, visually striking, and clearly designed to capture attention, the overall effect of the work is muted.

Schwabsky suggests that the art on display suffers from being 'overproduced.' The critique posits that the effort put into the sheer size and aesthetic polish of the installations does not translate into a profound artistic experience for the viewer. Instead, the exhibition is described as 'aspirationally eye-catching,' implying that the works are designed to stand out in a crowded environment but ultimately lack the depth required to sustain engagement. The review highlights a tension between the commercial and spectacle-driven nature of the Biennale and the more subtle, 'minor' themes the curators intended to explore. By prioritizing scale, the exhibition may be undermining its own stated goals of presenting a more nuanced or quiet collection of works. This assessment frames the Biennale as a space where the pressure to produce 'big' art often conflicts with the actual impact of the creative output.